The production of artistic objects is not a question of vision, beauty and sound proportions. The re-production tendency inherent to every subject chosen to manipulate the surrounding realities is a question of disproportional contingencies.
Therefore, we can only rely on objects already there, at hand, ready to be made. Trapped in this whirlpool, what we can do best is to try and re-make them, ignoring the burden of abstract authenticity. Thus, the continuity of every chosen object can be broken and the materialisation of a new aura can be activated again. Needless to say, this new aura cannot guarantee the complete disqualification of innovative procedures.
A strong feeling of suspicion arises when we are about to assume the essential constructivism of every artistic achievement. Simultaneously, we can no longer ignore the deconstructive aspect of art making: an object ready to be made or constructed can be, at the same time, the deconstructed replica of another object, with similar functionalities but simulated connotations.
Grosso modo, our approach to art is very naïve, ludic and hazardous; the manifestations of this approach end up sometimes in finite and continuous reconstructions of once thoroughly accomplished objects.
Taking into account the proliferation of these objects through photographic means and the gradual loss of ontological values filtered by several artificial mediums, we are giving shape to a series of subdivided collations, whose affinities can be traced back to Dadaist photomontage, magical realism, surrealist collage and other similar futile denominations.
The metaphysical oscilloscope hidden in the cellar has failed to detect any unusual prophylactic vibrations. The result of this failure has been diagnosed as molecular palaeographic agitations whose effects were relatively benign and unsuitable for public exposure.
The prohibition of the artist’s transcendental figure was immediately reinstated and every voluntary re-production of clustered antiseptic entities was soon to be followed by textual incisions on each side of this obstructed membrane.
This is what we are concerned with. This is how we leave the impressions of our fingers in the soft, incongruous tissue called world. This is how we indicate the location of whatever is being sought. This is why we reconfigure peculiar shapes vaguely described by exuberant lexical emissions operating without official sanction.
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